Nate Bargatze to host the 77th Emmy Awards on CBS
Nate Bargatze can add award show host to his ever-growing resume. CBS announced Wednesday that the popular comedian will host the 77th Emmy Awards.
Bargatze will emcee the ceremony on Sept. 14 at the Peacock Theater in Los Angeles.
"It's a huge honor to be asked to host such an iconic awards show and I'm beyond excited to work with CBS to create a night that can be enjoyed by families around the world," Bargatze said.
Bargatze has been called "the nicest man in stand-up" and is a Grammy-nominated comedian, podcaster, author, director and producer. The sought-after comic has been keeping busy, releasing three Netflix specials, including December's "Your Friend, Nate Bargatze" and hosting "Saturday Night Live."
According to his biography, Bargatze's stand-up shows broke attendance records with more than 1.2 tickets sold in 2024.
"Nate is one of the hottest comics in the business with a remarkable and hilarious brand of comedy that deeply resonates with multi-generational audiences around the globe," said Television Academy chair Cris Abrego.
The last four Emmy shows have been hosted by Eugene and Dan Levy, Anthony Anderson, Kenan Thompson, and Cedric the Entertainer.
The Television Academy will announced Emmy nominations on July 15. The 77th Emmy Awards will air on the CBS Television Network and available to stream live and on demand on Paramount+.
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Los Angeles Times
2 hours ago
- Los Angeles Times
50 years after Marshal Matt Dillon's last draw, ‘Gunsmoke' is a streaming hit
When the classic western drama 'Gunsmoke' finished its 20-year run on CBS in 1975, Los Angeles Times critic Cecil Smith made a bold prediction. 'I have the feeling that the first moon colony we establish will be watching 'I Love Lucy,'' Smith wrote. 'And probably 'Gunsmoke.'' We're not quite there on the colonization front, but Smith's prognostication on viewing habits is right on track. 'Gunsmoke,' the western drama starring James Arness as Marshal Matt Dillon, has twice this year ranked among Nielsen's top 10 list of most-streamed acquired series alongside more contemporary favorites such as 'Family Guy,' 'NCIS' and 'Grey's Anatomy.' The program scored 646 million minutes viewed for the week of March 3-9 and 570 million for the week of April 28-May 4. 'Gunsmoke,' which is owned by Paramount Global, was recently added to NBCUniversal's streaming platform Peacock. It has also been a staple of Paramount+. But it gets the bulk of its audience from Pluto TV, Paramount Global's free advertising-supported streaming service. The enduring success of the series, set in the frontier town of Dodge City, Kansas, in the 1870s, demonstrates how every new evolution of video consumption can unlock the value of beloved vintage titles. Since wrapping production 50 years ago, 'Gunsmoke' has never gone away, finding fans on cable (currently on TV Land and INSP), home video formats and retro broadcast TV channels such as MeTV before it was discovered by the streaming generation. 'If there's a great show, people will seek it out wherever it is,' said Neal Sabin, vice chairman of Weigel Broadcasting, which has carried 'Gunsmoke' on MeTV since 2006. The network's daytime airing of the show regularly attracts more than 600,000 viewers. 'Gunsmoke' started as a radio drama on CBS in 1952 with William Conrad voicing the lead role. The series transitioned to television in 1955 as a half-hour show with Arness taking over as Dillon at the urging of his pal John Wayne, who turned down the role. 'Gunsmoke' became an immediate hit, ranking as television's most-watched series in four of its first five seasons and expanding to an hour in 1961. It outlasted the wave of westerns that saturated network TV schedules in that era and was still landing in Nielsen's top 10 prime-time shows in the early 1970s. When 'Gunsmoke' was left off the CBS schedule in 1967 — apparently due to rising production costs — the network's founding owner, Bill Paley, and his wife, Babe, insisted that it return. Before 'Gunsmoke,' most western TV shows were aimed at kid audiences. 'Gunsmoke' was for grown-ups. It was violent and often unflinching in depicting the harshness of life on the American frontier. The writers and producers of 'Gunsmoke' respected the show's period setting but also had a feel for the times they lived in. Episodes from the first half of the 1960s, which often featured a young Burt Reynolds as a half-Comanche blacksmith in Dodge City, play like allegories about racism as the civil rights movement was simmering. The show had remarkable consistency as Arness and Milburn Stone, who played Doc, were in their roles for the entire run. Amanda Blake, who played saloon proprietor Kitty Russell, appeared in 19 seasons. (Fans still debate whether the Miss Kitty and Dillon characters were an item.) Sabin believes 'Gunsmoke' may be seeing an uptick in viewing as audiences tend to look to familiarity and comfort during times of uncertainty. 'Gunsmoke' also provides a hero with a strong moral compass. 'Matt Dillon represents a lot of what we don't have right now,' Sabin said. Dan Cohen, chief content licensing content officer for Paramount Global and president of Republic Pictures, said he isn't surprised by the resilience of 'Gunsmoke,' as the audience for westerns is deeply loyal, even outside the U.S. Buyer demand for 'Gunsmoke' among international broadcasters has always been strong. The series currently airs in Australia, Germany, Switzerland, Austria, Canada, Norway, Sweden, Denmark and Israel. Cohen said the show has likely gotten a recent boost from the massive popularity of 'Yellowstone' and its stable of Taylor Sheridan-created spinoffs, which Paramount Global also sells around the world. 'There is a halo effect that westerns are seeing internationally,' Cohen said. 'When we license 'Yellowstone,' it leads to the conversation of, 'Do you have anything else kind of like it?' 'Gunsmoke' is our answer.'
Los Angeles Times
2 hours ago
- Los Angeles Times
Janelle James had just one question about that big ‘Abbott' twist: ‘Do I still get paid?'
In the latest episode of The Envelope video podcast, Janelle James discusses her character's arc on 'Abbott Elementary,' and Aaron Pierre details the training required to master the 'seamless' action of 'Rebel Ridge.' Kelvin Washington: Hey, everybody, and welcome to The Envelope. I'm Kelvin Washington alongside Yvonne Villarreal, also Mark Olsen. Great to have you two here this week, as usual. Let's get to it. Yvonne, someone I've never met, but I'm gonna be saddened if she's not as pleasant or just as fun and hip as she seems: Janelle James. It just feels like I know her, even though I don't. Tell me about your experience. Villarreal: I have to tell you, I was super nervous that she was going to hit me with some one-liners about my appearance or something. Washington: She's got zingers. Villarreal: No, but she was super lovely. She plays the blunt and hilarious principal, Ava Coleman, in 'Abbott Elementary.' And she's done an amazing job in that role, because she's already been nominated three times for an Emmy. But Season 4 brought a lot of depth to this seemingly incompetent and uncaring character. We really see how she [goes] to bat for the students at the school, maybe in some unorthodox ways, but in ways that really help them. We also see a little bit of her relationship with her father. She also develops a relationship of her own, a romantic relationship. And — spoiler alert, I'm giving you guys time to dial down the volume — Washington: Just hit the little 15-second thing or something. Villarreal: Her character was fired this season. And I'll just leave it at that. But we talked a little bit about all of that, all the development that we saw from her character this season. Washington: Spoiler alert. Villarreal: Sorry, I'm telling you, you gotta keep up, Kelvin. Washington: Why is it me? I'm just saying it could be someone listening. Mark, I swing over to you and ... Olsen: I didn't know she got fired. Washington: Aaron Pierre. Let's just say the three Washington girls in my household, my daughters, including my 3-year-old, 'Aaron Pierre!' I mean, they had to do the whole, 'That's Mu-fa-sa!' for about a good month and a half. Villarreal: Is that how you started the interview? Olsen: I mean, we did talk about Mufasa, but I didn't say it quite like that. Washington: You didn't do it? Oh, come on! Olsen: Well, you know, the TV movie category in the streaming era has just really exploded. And it's become a much more dynamic category than it had been in a few years previous. And 'Rebel Ridge,' which stars Aaron Pierre, is really a great example of that. Written and directed by Jeremy Saulnier, the film stars Aaron as a man who comes to a small town. He wants to bail his cousin out of jail and he runs afoul of the crooked local sheriff. It just becomes this really muscular and exciting action thriller. Aaron brings a real gravitas and power to his role and has some very exciting fight scenes. And also it's just such a great time for Aaron Pierre. As you said, he just was the voice of Mufasa in Barry Jenkins' 'Mufasa: The Lion King,' and then he also is gonna be seen in the next [season] of 'The Morning Show,' and then is currently filming 'Lanterns,' which is a DC Green Lantern property. Washington: You can always kinda see certain folks have that moment where the boom happens, right? And then they just take off, and then someone's gonna go, 'Where'd this person come from?' Not knowing the whole, it takes 10 years to become an overnight success. He's been putting in the work for years. All right, well let's get into Yvonne and Janelle James. Let's start it now. Villarreal: You're in this big career moment. In what ways did you feel ready for it and in what ways has it just thrown you for a loop? James: Ooh, I mean, I feel ready for this career moment — not only moment but this career from performing for 15 years prior to getting this role. I've been performing for a long time. What has thrown me for a loop is fame. I had no concept of what that meant. I had no concept of what being on a show that immediately takes off entails and what that feels like. That's definitely been a surprise. Villarreal: Can you break it down, what it does mean to be on a hit broadcast sitcom? How have you had to reconfigure your life? James: Can't go to Target — not that we are — can't go to Target. I remember the first season, I was in Target and I was looking at doormats, as you do, and this guy comes up to me — I didn't see him, I heard him say, 'I got to hug you.' And I was like, 'He's not talking to me, because I don't know this man.' And he picked me up. This huge guy picked me up off the ground and gave me a hug, which I'm sure was in love. But that had me shook. I remember I went to work the next day and it was on my face that I was shook, like, what just happened? And Tyler [James Williams], my co-star, was like, 'What's going on with you?' And I was like, 'A stranger picked me up in Target to compliment the show.' He was like, 'What are you doing in Target? You can't go to Target anymore.' And that used to be my happy place. That was an adjustment, people knowing who I am when I'm in my jammies, trying to get some gummy bears. Villarreal: I was with Chris Perfetti at a museum [for a story], and kids were on their field trips, coming up to him and ready to share what they're learning in school. James: And I'm way more famous than him. (That was a joke.) Villarreal: What do you hear most often, and do you feel the need to be on as Ava because this is what people are expecting from you? James: What do I hear most often? 'I'm a principal.' 'I know a principal like you.' 'I also went to school.' I feel like that's part of the reason why the show is a hit. Who hasn't gone to school? It resonates with a lot of people because they've had the experience. And do I feel the need to [be like Ava]? Yes. You don't want to disappoint people. I've learned to take people approaching me as Ava as a compliment, like, 'Oh, I'm doing this character so well they think that it is me that they're talking to.' They're [thinking] I just stepped off the screen and now I'm in Ralphs for some reason — although she [Ava] would never be shopping for herself. I want to give them what they want and sometimes I don't, so I just stay in the house. Villarreal: Well, Ava Coleman, the character you play, has had so much character development this season and it was very earned too. She started out the series as this very polarizing character. She can be rude. She's not politically correct. She really won over the audience over the run of the show. I'm curious what it felt like for you to really get in depth with her this season. We get more of her background. We see her open herself up to a relationship, and we see just how far she's willing to go for the students. James: I was really proud and honored that Quinta [Brunson, the show's creator and star] and the writers trusted me with the material that they're giving me. And, like you said, it's earned. I feel like it was time. There's been [a] little dribbling out of her character over the seasons, but this, to me, was an Ava season, basically. [I'm] happy that they trusted that I can bring these different flavors to her. And [it's] just a testament to, like, the writing that this is a sitcom, it's 22 minutes, and we're doing so much story in such a short time; to be able to, for instance, reveal about her dad or have a dramatic moment and go right back into comedy [when] I've only been onscreen for maybe four minutes and you've already found out so much about her is amazing, and it makes me feel very talented. Villarreal: What were your conversations like with Quinta? James: I mind my business. I've been in a writers' room before, and I know nobody cares what the actors think. I know we certainly didn't when I was in one. I just try to let them do their gig, and because they have been doing such a good job, that's why we're a hit. They've been doing a great job with the show and developing the characters. I feel like each one of us gets a year. I feel first season was a Barbara [played by Sheryl Lee Ralph] year; second was Tyler [who plays Gregory]; then this one. I'm never worried or trying to involve myself. I'm so lucky that Quinta is like the coolest boss and that she gives me a heads-up for big stories, but I'm never like, 'Whaaat?' or 'Oh, I feel this ...' I know I have said things to her on the side that ended up happening. And then I'm just psyched that they decided to go with my idea. But I'm never like, 'I have a pitch.' I would be annoyed with that. If it's my show and I feel like I'm killing it, I don't really want to hear a pitch from the actor. My job is to make those words feel real and convincing. And that's it. Villarreal: The father element [to Ava's] story was a really a revelation for me. I'm curious what that unlocked for you. Ava's father is played by Keith David. You were able to capture so much about the daddy issues that she has and where the maybe hardness or prickliness comes from. James: Exactly what you said. It's just more about her ethos and why she is like she is, why she's so untrusting, why she's short with people, doesn't want to get close with anyone. Because she's already been disappointed by somebody — as we find out in the date episode — that's very important to her, and then abruptly went away to start another family. I thought that was a really great way to show that and to show her strength. He comes in, they have that moment, but then she's back to Ava right away. I feel like Ava just like keeps it moving, to her detriment sometimes — like [she] doesn't process. But it makes sense. That's what I like about the writing for the characters on this show. Everything we do makes sense, it seems very real, it's relatable. So many people wrote me and said, 'I have this situation with a parent, and it struck me as real.' It also illuminated for me what I think is the most important relationship on the show is Janine and Ava and how we have similar backgrounds and parental issues, but we're coming at it from different ways. She's coming at it with endless optimism and nonpessimism. So we're opposites sides of the personality spectrum, but I think as the show goes on, we're moving closer and closer together. I think that's so smart and [makes for] good story development. Villarreal: We see that Ava gets fired at near the end of the season. Did Quinta or the writers prepare you that this was coming, or did you read it in the script? James: So Quinta told me maybe a couple of days before, like, 'You're gonna get fired.' I was like, 'OK.' I think I did say, like, 'Oh, do I still get paid?' Which I meant. Do I still get paid? Because I thought that meant I wasn't gonna be in the show at all. So I'm like, 'Can I just pop in and get paid or...? Just let me know.' I wasn't concerned about being off the show [permanently], because that didn't make sense story-wise to me. I don't know why they would have done that, and I don't think she would have pitched it to me so casual if I was out of a job. But again, just trusting them, I was like, 'Oh, if I'm getting fired, that means we about to shake something up, and I would love to see the reaction to it,' which was fabulous. That was one of the best days of my life. Villarreal: It goes back to earning it. You've reached a point where the audience wants you back, wants to see Ava back. How do you think your background in stand-up and playing to either packed crowds or nearly empty venues and having to win over an audience, how did that prepare you for a character like Ava? James: Exactly what you said! Exactly what you said. Even when it's a packed house of people that love me, my stand-up is also very antagonistic, and that's for my own pleasure because I do like that. I'm gonna say something that you might not agree with or you don't find funny or touches you in a certain way, and you're gonna love me by the end. Then I'm going to make you laugh. There's a power in that. Stand-up has definitely prepared me for this whole Ava arc of people being like, 'I don't like her.' And I'm like, 'Yeah, really? You don't? OK, we'll see Season 4.' Villarreal: Can you tell me about a time where you just felt like you bombed [onstage] and how you turned it? James: I thought you meant just bombed, because I have bombed and just went home and had this one tear. [But] bombed and came back ... I feel like that's every set, truly. I like to craft a set, especially if I'm doing an hour, where it has different levels. Of course, you want to crush the whole time, and I am, but I like my jokes to have downbeats and then ba-da-ba. I'm not really a one-liner, which is what Ava was for a long time, so that's been a new muscle for me to do, where I'm just saying a line and have to hit those beats. But I like to do a joke that has different peaks and valleys to it and where people are like — you see them physically going back, then they're like, 'Ah, I love that.' That's what I like about stand-up, that instant reaction and the feeling of winning. Villarreal: Do you get the nerves doing 'Abbott' the way you get the nerves of stand-up? James: Yes. I feel like if you don't get nerves, that means you don't care. Did I say 15 years? Jesus. 15 years doing stand-up, I still get nervous beforehand. Four seasons doing 'Abbott,' I still get nervous. It just means that I care about my performance. Villarreal: 'Abbott' is a single-camera show. You're not filming in front of an audience. And you're used to doing your stand-up in front of people. What is a signal to you that you're delivering Ava the way you want? Is it hearing a cameraman, his laughter come through or breaking one of your scene mates? James: All of that, but also I'm just confident in my comedic timing at this point. I don't need a response. I love it. [But] I don't need a response anymore to know that I've hit the beats. Comedic timing is a skill just like anything else. Villarreal: I lack it, so I have no idea what that's like. James: Thank you for admitting, because everybody thinks they can do it. I'd like to hear a man say it — never will happen. I always say my confidence in myself and in what I'm doing is earned. I think that's part of what some people don't like in Ava. Some people don't like confident people because it makes them think about themselves. I feel like it's OK to be confident. There's confidence and narcissism. My confidence comes from putting in the work. I have the respect of my peers, in comedy and now in acting. I know what I'm doing. And, so, I don't really need the instant feedback, but it's lovely to have it, which is why I'm back onstage. Villarreal: Do you think she always had it? James: Ava? Yeah. Especially like I said, the first season, I'm the joke machine. One-liners wasn't my thing, but I know what the beats are. I know the jokes are supposed to sound like and how it's supposed to hit and how we're supposed to parry off of another statement. Can you say parry? Is that a word? I don't know. Is that tennis? I might have made it up, but hey, confidence. It's a word. Villarreal: One of the great things about the show is how the writers build the characters with these seemingly small details that say so much about the characters. For Ava, she owns a party bus, or she dated Allen Iverson, or she hasn't used capital letters in years. What are some of the details that you've loved learning about her? James: One of my favorites is that her 'Hello' sign [on her desk] is facing her and that was totally a mistake when we did that. I had turned it and props turned it back, and both me and Quinta was like, 'No, that's funny if it's facing you,' and now that's become a thing because that's totally something she would do, like, 'Don't come in here.' Anybody that comes in, she's like, 'Don't come in my office, I'm doing my side hustles; I'm not really trying to talk to you, so no hello. Hello to me. You're doing a great job, Ava.' I love just the continuity of our props department is hilarious in that I think Season 1 we took the picture with Gritty and she says, 'Oh, this is cute picture I'm gonna have to Photoshop Janine out.' Then behind me for the whole season [is the framed photo], not Photoshopped, [but what] I think is is is even more cutting: She literally cut her [Janine] out [of] the picture with scissors. That's some real hate. I love that. And the fact that she does know all these people that she's talking about. She's popular outside the school. She has all these hookups. Just recently, she had her list of high-net-worth drug dealers that came in. But also, that rings true. That's who she would know. And those are the high earners in a neighborhood like that. It's just, again, excellent storytelling to remind people where we are. We're in the inner city in Philly. That's what she knows. She grew up in that neighborhood, she knows them. She know they got money. That's her friends. But she just happens to be a principal. Villarreal: As you mentioned earlier, you've been in writers' rooms before — 'The Rundown With Robin Thede,' 'Black Monday.' How does being behind the scenes and knowing what goes into making the show inform you as a performer? James: Well, like I mentioned earlier, I leave them alone. I know it's a different process than what we're doing. I know it's difficult to craft out a whole season. I've never been on a show that's done 22 episodes and we just [deliver] back-to-back bangers — that's amazing [and] even more reason to leave them alone. They know what they're doing; Quinta knows what she's doing. I feel like Quinta has a vision, not only for each season but from the start of the show to when we eventually end it. And I know for me, as the seasons go on, I've become more comfortable with suggesting things and maybe improv-ing. But only when asked, and I always ask first. I always try to say what's on the paper. I never try to be like, 'Oh, what I think might be funnier...' or whatever, even though that's what I believe. I always do what's the paper first. And then I say, 'Hey, I have a suggestion,' and then I get to find out if they chose mine or not, and they frequently did. Villarreal: How were you in writers' rooms? James: How was I? I feel like you got inside information. Villarreal: No, no, I don't. I don't. Please share with me that experience because it feels intimidating. James: Nah — I mean, it depends. I guess for some people. I ain't intimidated by much. I'm a joke machine. I've only written for comedies so far, so that's my bag. Pitch, pitch. If you want a joke, I'm all day with it. I have a story. I thought you had inside information with 'Black Monday.' When I first started — it's usually men. Was I the only woman? No, there was two women in that writers' room. One of my favorite jobs, by the way. Let me just say that before they think I'm talking s—. All the men are pitching, and I said, 'Ugh, ugh.' And I had just gotten there because I came in, like, late to the season. And my boss, David Caspe, was like, 'What's going on with you?' And I was like, 'None of this is funny. I'm just waiting to hear some funny s—' or something like that. He wrote it on the window, and it stayed there for the whole season. Seeing it written, I was like, 'That's outta line.' But I meant it. Villarreal: How did your fellow writers feel about that? James: They loved me. I just saw one just recently, hugged me and everything. Villarreal: Would you ever want to write an episode of 'Abbott'? James: Yeah, I was just talking about that with someone. I don't know if we're allowed. I also don't how it would work because I wouldn't be in the room to build with them. They start way before we do, and I know each episode is assigned to a writer. But it's already pretty formulated by then. I don't know if I would write, like, a one-off type of situation, but however it would work out, I would love that. Villarreal: I would love to see that. Which character would you be interested in writing for? James: Ooh, I think Tyler's character is so interesting and funny. Tyler's comedic timing is so funny and underrated. Quinta too. I love the Janine character. And then myself, duh. Everybody. I feel like I know the least about Barb's. I feel I would maybe write her too much as a caricature. Villarreal: I can only imagine the lines. James: Easter Sunday every line. Chris too. Just some real — ooh, I almost cursed. Some real high jinks for him. Villarreal: Do what you want. James: Some real f— high jinks. That was in me the whole time. I was like, 'Oh, God, can I say one curse word?' Villarreal: Let it out. James: One of my favorite things to do as the cast is when we're in a group in the kitchen, and we have like we're all bouncing off of each other — those are my favorite scenes. So, yeah, anything. Villarreal: What's it like filming with the kids? You don't do it as often as some of the other actors on the show. James: It's great. I'm just always constantly surprised and impressed with how chill they are. I know me, we do [a scene] three times, I'm like, 'All right, I am done with that.' But they are engaged, and they're doing it, and they're good. And it's so amazing because I know, especially first season, we had a lot of kids who had never acted before, who aren't even professional actors. A lot of Black kids, which we want to represent where we are, it's very hard to be a child actor. A lot of times, if you're a professional child actor, your parent has quit their job because they've got to drive you around auditions, they've got to be on set with you. And a lot of Black kids don't have that privilege. So to have all these Black kids there and it's their first acting job, and they're so good. And now they've grown with the show. Villarreal: Do they call you Miss James? James: No, they call me Ava. Which is fine. The kids are the least annoying as far as approaching me as a character. They can call me whatever. Of course, they think that's who I am. And I don't mind performing for them. You want me to do the TikTok dances with you and all that? I don't want them to feel like they have a job. I think that's lame. You're a child, let's have fun and reward them for being so chill. Villarreal: When the show was entering its second season, you made the decision to move out here. I know Tyler had to persuade you not to buy a Mazda — James: Oh, that story. I have regrets, actually. I love a Mazda. Villarreal: I'm more curious what that transition was like, moving out here, that period of settling in. James: I had lived in L.A. for short periods just for a job, and I would go back to New York. That's what happened with the first season. I remember we did the pilot and I was like, 'That was cool.' I went right back home. Then we got picked up. I truly didn't even know what that meant. Then we like did 13 [episodes] in the middle of the pandemic, by the way — I feel like a lot of people, of course, have wiped that from their brain, but we did all of that with the masks and [personal protective equipment]. So that was just a whirlwind of things happening. Then all of a sudden it's, 'Oh, it's a hit, 22 episodes next season.' So that's nine months out of the year. I'm like, 'Well, I guess I live in L.A. now.' It was a big transition. I've been in New York for a long time, and I am a New Yorker — you hear it? I'm a New Yorker. And my family is still on the East Coast and my friends and my nightlife and my community. So, yeah, it's been a big transition and I've left all my comedians, and I hang with actors. Villarreal: On the subject of the growth with Ava, is there a limit to the growth you would like to see with her? Is there something that you don't want to see from Ava as the series progresses? James: I'm not afraid that this is going to happen, because if it would have, it would've happened already, [but] one thing I'm very pleased with is, although we're revealing more about her, her core personality stays the same. She's still that b— I liked, especially when she got fired, it wasn't this big [moment] — on her part — of like, 'Woe is me! What am I going to do now?' She was instantly like, 'Next.' Find out that wasn't even her main job. I loved that. And the next time you see her, she's rising from the audience for her speaking engagements. She had people picking up her checks. But that's who she is. She's a hustler. That's what I really relate to with her. I get that, 'Next. Let's move.' And anyone who dares to let me go, that's your loss because I'm killing it and doing multiple things, which is not only relating to being a hustler, at the core of that is relating to being poor. That's what you got to do. You got to have multiple streams. That's what all those lame guys are talking about. Multiple streams. I saw a couple people [say], 'I hope that we find out she's been like lying this whole time.' She's too fab for that. It is very true that this person exists who is a hustler, who is as fly as she says she is and who has not only book smarts but street smarts, which I think is very underrated, or what's the word I'm looking for, not valued as much as a book learning. She has both. Villarreal: Before we wrap, what is it like to have your performance captured in meme form and live on in that way? Do you find yourself actively thinking about that now? James: A lot of times, I'll see a meme, and it's not even me. I don't see it as myself. Maybe the first season, I was like, 'Oh, my God, I can't open my phone without seeing myself.' I also was living in a place where the billboard was right across from my window. I'm like, 'That's weird.' It's really been a real — they said I could curse — mindf— sometimes, seeing myself so much and not even just in the context of the show. That's what a meme is. It's in a thread about taxes and then it's me. I'm like, 'What does this have to do with it?' But now I'm taking it more like, 'Oh, wow, this character is like iconic. Not like, is iconic.' She's in the lexicon. She's gonna be around forever. Anytime somebody plays [Juvenile's] 'Back That A— Up,' they think about me. Villarreal: Talk about that moment. James: It's crazy. Everywhere I walk in — I walk into the Ralphs, 'Back That A— Up' on there. Everybody like, 'Hey, that's for you.' Villarreal: The way people like glommed onto it, like it was all over TikTok with captions like, 'This is me in my kitchen.' James: Again, excellent writing, excellent character development. Because that is the song. Nothing is written because we just want it to be. That is the jam that people such as Ava and people in that age group, you hear it, you on the dance floor, and it would make you act out at work. It's true. Villarreal: Was that so fun to do? James: Man, I was so nervous. Villarreal: Were you worried you were not backing it up right? James: Not even backing it up right. I had to find a middle ground. Hit show, ABC. I feel like I could have went crazy and they would have cut it up. But I also wanted it to be — I know grandmas and kids are watching, and I wanted it to be funny too. So I was trying to do so much in that little time. We had Randall, he's circling around. How that was shot, it was like cinematic. Villarreal: The timing. James: I had a silk blouse, I was like, 'I can't be sweaty, I still gotta look fly, the hair gotta flow, gotta be a little funny, gotta be little sexy, gotta be believable that I'm letting loose.' It was a lot. Again, we're doing so much, and I'm doing so much, in a short amount of time. That scene was maybe 30 seconds. I had to convey all of that in a dance. I'm not even saying anything. I'm doing my little giggle because that's what girls do. I had to make all of that and remember what that feels like to hear that song. Villarreal: To go from something like that, which again, like the joy and fun of a scene like that to the depth we saw this season from her, like I said, with like the moments of vulnerability, it's such a testament to you and what you're delivering. So kudos to you. I can't wait to see what's ahead with Season 5. James: Thank you so much. Mark Olsen: You've been so busy these past few years, I can imagine there are times when you're like, 'What am I here to talk about?' You have so many projects that you've been involved in. Aaron Pierre: I've been very fortunate and very blessed on my journey. I'm just trying to keep it about a commitment to doing the best work I can. A commitment to evolution and growth and just enjoying the moment. Olsen: When you came to 'Rebel Ridge,' there initially was another actor in the project who left. I'm curious, for you did you feel like you were jumping onto a moving train? What was it like to get involved in a project that was already in motion? Pierre: The first time I heard about this project was from [director] Jeremy [Saulnier] himself. My team had read this script, which we now know to be 'Rebel Ridge,' and they were just really thrilled and excited to have something cross their desks that felt original, that felt exciting and that energized them in a way that perhaps they hadn't been energized in a long time. So more or less immediately, I read the script, got onto a Zoom with Jeremy himself, and we just immediately connected. I think there is something to be said for instincts and something to be said for a gut feeling, and I think in both departments we had a positive experience of that with one another, and we felt as though this collaboration would only be conducive to an enjoyable time. And that's certainly what was happening. Olsen: Did you know Saulnier's work from his other films, 'Green Room' or 'Hold the Dark,' were you familiar with him before this came to you? Pierre: Yes, I was familiar. My favorite is 'Blue Ruin.' I think that is a masterpiece. And I think that is Jeremy arguably at his happiest as a filmmaker and just getting to flex all of those different muscles and talents that he has. After seeing 'Blue Ruin,' I always wanted to work with him. I didn't know if it would ever come to fruition or if it would even be a possibility. And then 'Rebel Ridge' came along, and we got rockin' and rollin'. Olsen: You mentioned instinct and how you have to learn to trust your gut working with someone like Jeremy, saying yes to a project. At the end of it, do you ever get some sense of what that instinct was? 'That was what I was responding to, that's why I wanted to do this'? Pierre: I have this sort of checklist for myself, any project that I do, when I wrap. At the end of it, if I can say that I did my best to give my best, and also if I can say that I earned my own respect — which is a very challenging thing to do because I demand so much from myself and I'm hypercritical of myself — but if I can check those two boxes, then I feel satisfied. I don't try and control or puppeteer anything beyond that because the space that I'm in, you're in, we're in, it is so subjective. But that's why we love it. It's art. And if I can have that peace in myself of, 'I really gave everything I had,' then beyond that whatever happens is just additional blessings. And to have the response that 'Rebel Ridge' received was beyond my wildest dreams, to be honest with you. Speaking candidly, I'm still processing it now. It was really moving. I think in part it was so moving because we poured so much into it. Everybody in every department. I'm not speaking exclusively about the cast. I'm not speaking exclusively about the director and the [producers]. I'm talking about everybody, from crafty to catering to transpo[rtation] to the teamsters to the crew. Everybody poured so much into it. We were all there every day from the beginning to the end. And I think there is something so beautiful about a project which is so physical and demands so much. That sort of brings you all together. So I'm just thrilled for everybody who poured themselves into this, and it really wouldn't have been possible without everybody's commitment to it and everybody's commitment to excellence. Olsen: When you say that you're still processing your feelings about it, what's changed for you? How do you feel your response to the movie has evolved? Pierre: I think what I'm processing still is just the abundance of joy that it gave people and the reception it received. So many people have reached out to myself, to Jeremy, to others who were part of project and shared what it meant to them. And even requested a sequel. I just feel very grateful, and really the film wouldn't be what it is today without the audience. And that really ties into why I do what I do — I don't take myself seriously, but I do take what I do and my craft very seriously. And that is me attempting to honor the time and the energy that an audience gifts you with when they engage with a film, or they engage with a TV series, or they come to the theater and watch a play that you're in. Life is busy. Life is hard. People have multiple things to juggle. So when people gift you with that time, I feel as though, as an artist, as an actor, whatever I want to describe myself as, I have a commitment to honor that. And that really just ties into the audience response. Just to get that, it feels really special. Olsen: One of the things that's so remarkable about your performance in the film is you remain so calm through the whole thing. No matter how wild the story and the action gets, you're still very cool throughout. How did you come to that choice? Tell me a little bit about that essential nature of your performance. Pierre: I arrived at the decision that I wanted Terry to feel like — I wanted his energy to be 'loudest quietest person in the room.' And what I mean by that is, I wanted his silence to speak tremendous volumes. Somebody who steps into a room and they don't say anything, but the fact that they don't say anything is so loud. The fact that they are not demonstrative in their physicality is so loud, and almost their lack of emoting at times, their lack of being physical at times, is what indicates their capacity and is what tells you everything you need to know about them. That's what I was playing with during the entire filming process. And it was a lot of fun to do so. That's one of the beautiful things about a character that is so wonderfully written. Terry is written in such a dynamic way, in such a nuanced way and really such a generous way. And I have to credit that to Jeremy as the writer, he was so generous in how he created Terry, so that the individual that portrayed him had so much to work from. Olsen: People often talk about Jeremy's work as being slow-burn thrillers. That's what they call them because they typically take a while to get to the action and to really pop off. Was pacing something that you talked about with Jeremy, both in how the story was going to be paced, but also how your performance was going to be paced? How do you capture that sense of the slow burn? Pierre: As an actor, I think doing things in a slow pace is not something I have an issue with. If anything, directors have to say, 'Hey, Aaron, let's [pick it up]' because I like to enjoy moments in the context of portraying a character. So this was exactly the lane that I enjoy operating in, so far as action and thriller. I love enjoying those beats and enjoying those moments and really being unapologetic about it. So it was a lot of fun. The moment where, for example, Terry rides into where the sheriff's office and he puts his pedal bike down and he just waits there calmly, and then Don Johnson comes out and he has this whole speech about P.A.C.E. and he breaks [the acroynm] down: I could be wrong, but I feel like a number of other action movies might have taken the route of, let's just get straight to it. But I love that Jeremy had his character break down what was going to happen should this police department not adhere to his request. I love moments like that. I love that Jeremy was so unapologetic about it, and that gave me permission as his collaborator within this film to also be unapologetic. Olsen: That is one of my favorite scenes in the movie as well, because it's this very tense dialogue scene between you and Don Johnson, and then it suddenly erupts into a very physical, rough-and-tumble fight, a physical sequence between you, Don and another actor. I have to say, it sure looks like that's really you in close combat with those two guys. What kind of training did you do for that? And what was it like to sort of go from paced, restrained dialogue to break into the action like that? Pierre: Oh, it was so much fun. You'll hear me commend and celebrate the crew a lot because they deserve it, they earned it, and they're just phenomenal. I had a lot of help with the physicality of Terry, with the intellect of Terry, from the stunt department and from our advisors. [Marine Corps Martial Arts Program] instructors, for example. We really did a lot of physical training prior to production commencing. We did wrestling training, we did boxing training, we sparred. So I was really in my body. I'm already a student of martial arts, and I love it. It's the most humbling thing in the world, and I just adore it. And I'll always be a student of it. So that was really fun for me, to be able to do that for my job. By the time we got to choreography, it just felt somewhat fluid and easy because moving in that way was already in my body. That was how we warmed up, that's how we would sometimes start days, that's sometimes how we would end days. That's sometimes how we would spend a day on the weekend. So it was really in me at that time. And again, it goes back to being the loudest quietest person in the room. I like that Terry goes from that speech to, 'OK, you've now left me no option but to demonstrate everything I just told you I had the capacity to do, but I was hoping not to have to do.' There was sort of a running joke in the crew that Terry is there to teach manners. Olsen: There also is a scene in the film where Terry, your character, is on a bicycle and he's racing a bus. And I've seen some of the behind-the-scenes footage. You're on this contraption that's sort of a motorized cart that has a bicycle sticking off the front of it. But I have to say, I would 100% believe that you were, like, racing that bus. Pierre: So here's the thing. As you know, it takes a lot to make a film and it takes a lot to capture a scene like that. And all of these get cut together, and then it all just looks seamlessly like one take, or whatever it might be. But there was a version of that bus scene where I'm pursuing the bus on a pedal bike, just me. There's a version of it where I'm pursuing the bus on a bike rig that is fueled by a motor, almost like a small go-kart. There's a version of it where I'm quite literally attached to the bus and I am physically pedaling and exerting myself as hard as I can. And then [key grip] Big Bruce Lawson — who I love, by the way — he's gently pushing me closer and closer to where the driver is, driving the bus. So all three of these versions require me to pedal, but not all of them am I making movement purely on my own accord. Then you put them all together and it looks seamless and wonderful. Olsen: How surprised are you when you see the final product? Like, 'Whoa, looks pretty good!' Pierre: I have to be honest, with Jeremy, I wasn't surprised. Jeremy's Jeremy, he does wonderful work all the time as far as I'm concerned. I remember well before the film came out, he showed me an early cut, I think it was maybe like the first eighth of the film, and I was just really excited by it. And then to see the final product, I just commend him. Olsen: There also are a number of scenes in the film where you disassemble a gun, a handgun, in your hands without really looking at it while you're doing it, like you're looking at another person while you are taking this gun apart. How hard is that? I don't think I could ever manage that. Had you had any kind of weapons training from other projects? Pierre: Not prior to 'Rebel Ridge.' But I really had to immerse myself in that in order to achieve what I wanted to achieve, which was authenticity. And which was honoring Marines. That's very important to me, as it's very important to me with every role that I play to be authentic and to honor the individual and the history of that individual and their respective communities and units. So I really immersed myself in it, and even reflecting on it now, I'm surprised that I managed to even get to the level where I could do a scene and be looking you in the eye but [be] disassembling a gun or unloading a gun and unloading a magazine and putting that on the side. They really had me in sort of like a boot camp, and luckily I took to it. Because one thing about Jeremy is we will not move on from the scene until it's seamless, and that's what I love about him. Olsen: Were there any other films that you and Jeremy would talk about or maybe that he showed you as a reference as you were working on this part? Pierre: Actually, no. I mean, of course, he and I were aware of wonderful films that share similar themes. But for the whole maybe three-month shoot, we didn't actually speak about any other action films. And I even remember Don, Jeremy and I one day, I think we were shooting the scene where Don's character takes Terry with David Denman's character to the hospital before they break the news to him. And Don actually doesn't watch any films when he's shooting a film. So that was kind of the energy, actually, while we were filming 'Rebel Ridge': Let's just focus on creating this original film without influence or at least without any conscious influence. Of course, it's art, so subconsciously you're always going to be influenced; it's going to be a version of [something]. And that's inspiration. But we really just focused on 'Rebel Ridge' and how do we want to tell the story of 'Rebel Ridge.' Olsen: Tell me more about working with Don Johnson. He seems like a super cool guy that it would be fun to meet and hang around with. But then it's funny that he's so good at playing this like really smug jerk of a crooked sheriff. Pierre: Don and I get along really wonderfully. It's so funny, I think actually the fact that we got along so well allowed us to create such tension and friction within the scenes because we were able to, outside of the context of the scenes, discuss what we wanted to achieve and how we wanted to achieve it. And then when the cameras started rolling, we had substance because we had everything we had discussed. And in those moments, it wasn't Aaron and Don, it was really Terry and the sheriff. Jeremy creates this environment where it really is conducive to, I think, the best work, because he protects with everything the scene and the place where the scene is taking place. So you can have a laugh and a joke outside, because you know as soon as you step into that atmosphere, that arena, you're in that world now. Olsen: The story of the film is about a Black man coming into a Southern town. Race is a real undercurrent to the story, and yet it's something that apart from one scene, where a Black female police officer calms down a group of white men, it's never really explicit in the film. For you, what was it like to have that sort of bubbling underneath? Did you like the fact that there was never a big conversation about it, that's not that scene in the movie. How did you feel about the way the story dealt with that? Pierre: I think Jeremy did a brilliant job of navigating multiple important and pressing issues, all within one film. And I think he did it in a way that was not didactic. And I might even say that ... allowed for it to resonate even deeper with audiences. Because versus the audience is feeling like they were being sat down, it was more of an invitation to come and engage in this conversation with us, within the context of the film. Olsen: I want to go back to something you said earlier, that you feel on a project you have to earn your own respect. Can you talk a bit more about what means to you? What, in essence, does it take for you to earn your own respect? Pierre: When an audience engages with your work in any capacity — theater, film, TV, radio, wherever it is — that's them gifting you with their time. Time is precious. Time is valuable. I need to feel as though I've served the character. I need to feel as though I've served the story. I need to feel as though I've served the creative team. And I need to feel as though I've served the audience. Even if an audience walks away from something and they say, 'That wasn't for me,' that's OK because the work is subjective. Just so long as the result of that wasn't me not giving my all. If I don't give my all, I'm not at peace. And I think that really just comes from gratitude for the opportunity. And that ferocity of work ethic that I have is just fueled by gratitude. I'm well aware that this is something that isn't a given, to be blessed in a position where you can tell stories on this level with such wonderful creatives. I've been in a position where this is everything I wanted to do, all I could do, but I was unemployed and I was in a very financially challenging position and telling people I'm an actor, but I had nothing, nothing to show. So I think actually having all of those life experiences of those rough times, and those challenging times, when I am now in this position where I'm fortunate to have an abundance of options and things available for me to engage with, it's just never missed on me. Ever. And it just would never feel right to take that for granted. What are we doing here? We have an opportunity, let's give it our all. Maybe it lands flat, maybe it's a major success, but whatever we're doing, let's not hold our punches, let's give everything we've got. Olsen: Last year, you were also in 'Mufasa: The Lion King,' you did the voice of Mufasa. And as I understand it, you had previously worked with Barry Jenkins on 'The Underground Railroad' — Pierre: That's big bro. Olsen: And as I understand it, he initially reached out to you. He saw you onstage, and he sent you a DM. Pierre: He did. Olsen: As an actor, is that kind of what you're hoping for? You can't even really hope for that to happen, in a way. Pierre: I thought somebody was messing with me, I promise you. We had just finished an evening performance at Shakespeare's Globe on the South Bank, of 'Othello.' Mark Rylance was playing Iago, Andre Holland was playing Othello. Phenomenal actors both. The whole team, phenomenal actors. And I just finished the evening show, and I think I was coming out of the underground at Earl's Court Station and my phone pinged. And it was a DM from Barry, and I was like, 'This has got to be a joke. Somebody has heard me talking about how much I want to collaborate with him, heard me talking extensively about what he achieved with 'Moonlight.'' And then I opened it and it had the little verified blue tick, and I was like, 'This is actually Barry Jenkins.' And he was just saying, 'Hey, man, I really enjoyed your work on the stage as Cassio, I have this project upcoming. And I would like to engage in a conversation with you about it.' That was a really special moment for me. Olsen: With 'The Lion King' in particular, what was it like taking on the role of Mufasa, originally voiced by James Earl Jones? Was it a challenge for you to find your own way, essentially your own voice, for that character? Pierre: First and foremost, James Earl Jones originated Mufasa and is and always will be synonymous with Mufasa, and his portrayal is just so beautiful and timeless. And it's not only with me for the rest of my life but with all of us for the rest of our lives. And most importantly, it can never be matched. That actually brought me a lot of peace entering that conversation and entering that creative process. Knowing that is in its own stratosphere, and rightly so, it gave me a lot of peace and it gave me permission to find my own version. And I hope that he would be proud of the version that I discovered, and I hope that he would feel as though we did everything we could to uphold the legacy that he established and the legacy that he built. Because that was our intention and that was what we were striving for. And, just on a separate note, James Earl Jones, he's the top of the mountain for me. I study him. He's just the top of the mountain for me. Olsen: As we're having this conversation, you're in the midst of production on 'Lanterns,' which is a very different production from 'The Lion King.' I've seen this iteration of the Green Lantern story described as a sci-fi 'True Detective.' And I'm curious just how that project is going for you and what the experience so far of shooting that has been like? Pierre: It's been great. It's been a really beautiful process and experience. Everybody is so close. Everybody is so tight and connected. And I think that is because we all love this project. Olsen: You also are in the upcoming season of 'The Morning Show,' again a very different project, and I'm curious, for you as an actor, do you feel like this has kind of become your moment? As an actor you work so long and so hard. What is it like for you when it seems like suddenly so many things are lining up for you? Pierre: It's very surreal. It's very surreal. There was a time when there was nothing available to me, despite me trying to have things available to me. So it's very surreal. Again, I'm abundantly grateful, and I think it's about just utilizing these moments to learn, to grow, to evolve. And just to serve this space as best I can. It's impossible not to have an amazing time on 'The Morning Show.' All of those wonderful artists and creatives, we had a really great time.
Los Angeles Times
2 hours ago
- Los Angeles Times
A tale of two eras: Terri Lyne Carrington pays tribute to the revolutionary spirit of Max Roach on ‘We Insist 2025!'
'The more things change, the more they stay the same,' French writer Jean-Baptiste Alphonse Kerr said in 1849. Nearly 200 years later, that is sadly true of the greatest protest songs. In 2025, songs like Bob Dylan's 'Masters of War' and Sam Cooke's 'A Change Is Gonna Come' are as needed for their messages as they were when they were written more than 60 years ago. So when Grammy-winning jazz drummer Terri Lyne Carrington set out this year to pay homage to one of her stick-wielding idols, the legendary Max Roach, by revisiting his seminal 1961 album, 'We Insist!,' it turned out to be more than a musical tribute. In the process of recording the album 'We Insist 2025!,' Carrington took time to reflect on how issues of inequality, racism and more that Roach fought against in 1961 are unfortunately just as prevalent today. 'Wow, I can't believe that this stuff is still relevant,' Carrington says. 'When we look at these examples of how things have shifted in some ways, but not in other ways, it can be very depressing, especially right now. When we started this record, the election hadn't happened yet. I thought I knew what was going to happen during this election, and it was still relevant. But now it's even more relevant.' Now 59, Carrington, who also serves as Zildjian Chair in Performance at Berklee College of Music in Boston, is ready to pass along some of the fight for social justice to the younger generation. 'I do feel like it's a youthful game. I had an uncle that I would talk to when I was in my 20s, who has since passed. He would say that this is your fight now, and I would be mad at him, feeling like he wasn't doing more,' she recalls. 'And he would say, 'No, this is your fight now. I've done it, I've been there, I'm tired.' I get that sentiment too. I'm going to do whatever I do, but I'm relying on the younger generation and how pissed off I feel like they are and what that will do.' Among her many ventures to champion the jazz music she loves so much is A&R for iconic jazz label Candid Records, founded by the great jazz writer Nat Hentoff in 1960. So, she called on the younger generation to help share her vision of 'We Insist 2025!' 'I thought of calling the people that had been signed or were being signed to Candid Records because I do A&R for Candid. So I thought this would be a great opportunity to also shine a light on a lot of these artists, young people and progressive artists that are being signed right now to Candid. It's kind of like a family gathering; we all came together to pay tribute to this great artist and this great project,' she says. At the center of the next generation of jazz artists on the album is vocalist Christie Dashiell, with whom Carrington collaborates on the album. 'Somebody like Christie Dashiell was really important to the project, because I felt like the voice is so out front. It's what people relate to; the average ear relates to the voice the most,' Carrington says. 'I just feel like she perfectly embodies all these different areas of Black music traditions. That was really important, so I started there. What is the voice that's going to work with this idea?' Having toured with Herbie Hancock and played with giants as Dizzy Gillespie and Stan Getz, Carrington has a strong sense of jazz history and rightly sees herself as a bridge between the history and future of jazz. She made sure that bridge was strong on 'We Insist 2025!' by including trombonist Julian Priester on the record, who, at 89, is the last living musician who appeared on Roach's 1961 work. 'Jazz has always been about these kinds of bridges between generations. It's been such an important part of jazz. Mentorship, apprenticeships — it's an apprenticeship art form,' she says. 'So we did contemporary things with this music, but it wasn't so contemporary that there was no place for a Julian Priester. I think that the ability to be a bridge is important — pointing to past legacies, to the foundation of what we stand on, while trying to also point to the future or reflect the present is important.' As much as the album's original political message weighs in this turbulent current climate, and as much as Carrington wanted to make the record a vehicle for younger artists, the impetus for 'We Insist 2025!' was to pay tribute to Roach for the centennial anniversary of his birth. For Carrington, the heart of her interpretation was to honor the music and spirit Roach created on 'We Insist!' 'I had a history with reimagining projects in other people's work, and helping that legacy continue, but doing it in a way that also has my own identity involved in a way that really feels new, in a sense,' she says. 'The music is not new, but so many elements around those things are new. So I feel like it's reshaping these things a little, even though we didn't change the lyric content. By changing the music around the lyrics, it gives the lyric a different slant.' As one of the country's primary ambassadors of jazz music today, Carrington hopes the record will introduce new fans to Roach's considerable legacy while helping to revive the soul of protest music. To that end, she has discussed bigger plans with his family. 'I've talked to Max's son, Raul Roach, quite a bit about trying to collaborate by doing shows that would be expansive. Doing some of this music, maybe doing some other Max music, like some of the double quartet music,' she says. 'So we've talked about finding ways to continue this celebration of Max Roach and his artistry. There's a lot there as a foundation that can be expanded upon.'
